The work of Kaspar Dejong (1995) is in line with the semiotic tradition exploring and studying signs and symbols as a significant part of communication. Most of Dejong’s work sources from his close living environment: the city. The urban landscape is planned. One who looks beyond the encrypted sets and structures may find other aspects to it. Where do controversy and disruption within the planned landscape come at stake? Tracemaking is one of the red lines throughout his oeuvre. ‘I tend to re-use existing imagery and objects from my daily surrounding and deconstruct these in such a way that they lose meaning and their authority or original function is being questioned.’ The subjects that Dejong broaches arises from a fascination for the obvious, the everyday and mundane beauty. Processes in which the ravages of everyday life show itself.